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Home , Bernard Haitink, Edith Wiens, Richard Harwood, Staatskapelle Dresden, Thomas Hengelbrock, Till Fellner

LSO SEASON CONCERTS AT 90

Sunday 10 March 2019 7–9.25pm Barbican

Mozart Piano Concerto No 22 Interval Bruckner Symphony No 4

Bernard Haitink conductor Till Fellner piano

Streamed live at youtube.com/lso and on medici.tv

Recorded by BBC Radio 3 for broadcast on 11 March HAITINK

Thursday 14 March 2019 7.30–9.40pm Thursday 21 March 2019 7.30–9.40pm Barbican

Dvořák Violin Concerto AT 90 Interval Mahler Symphony No 4

Bernard Haitink conductor Isabelle Faust violin Anna Lucia Richter soprano Welcome

the LSO. We’ll then hear one of Bruckner’s a unique concert in keeping with the festival’s most popular symphonies, the ‘Romantic’ theme of ‘space’. The performance opens Fourth. Those of us here in the Barbican Hall with David Lang’s the public domain will be joined by an international audience performed by 500 Londoners in the foyers, watching online, as the concert is streamed before continuing in the Barbican Hall with live around the world on the LSO’s YouTube Philippe Manoury’s Ring for spatialised channel and medici.tv, where it will be orchestra, the world premiere of Donghoon available to watch again for the next 90 days. Shin’s Kafka’s Dream (a commission of the LSO Panufnik Composers scheme) and For the concerts on Thursday 14 and 21 Scriabin’s Symphony No 4, ‘Poem of Ecstasy’. March, we welcome violinist Isabelle Faust, a great friend of both conductor and orchestra, to perform Dvořák’s Violin Concerto. In the second half, the LSO will be joined by Anna elcome to the Barbican for The intensity of Bernard Haitink’s relationship Lucia Richter to perform another large late- tonight’s performance by the with the Orchestra is clear to all who have Romantic work, Mahler’s Symphony No 4. Kathryn McDowell CBE DL Symphony Orchestra, had the opportunity to watch him at work. Managing Director part of our three-concert celebration of As LSO members regularly attest, he is I would also like to take the opportunity to Bernard Haitink’s 90th birthday. very much a musician’s musician. Be it in thank our media partners, medici.tv, which rehearsal or in concert, he is possessed of is broadcasting the 10 March concert live Bernard Haitink’s first appearance with the total focus, producing results that are a joy to an international audience, BBC Radio 3, LSO came relatively late, when he opened the for both the audience and the Orchestra. which is recording the concert for broadcast Orchestra’s 1998 season with a series of three It is my pleasure to welcome Bernard Haitink on 11 March, and Classic FM, which has concerts featuring music by Haydn, Bruckner to the LSO for these three concerts, and to recommended the concerts on Thursday and Mahler. In 130 appearances over the last wish him, on behalf of the Orchestra and 14 and 21 March to its listeners. two decades, we have had the opportunity our colleagues around the world, a very to engage in a range of special projects happy 90th birthday. I hope that you enjoy the performances, together, including a highly memorable and that you are able to join us again soon. Beethoven cycle in the concert hall and on The concert on Sunday 10 March opens with This month sees the return of LSO Futures, LSO Live, and many performances across Mozart’s Piano Concerto No 22, performed our triennial festival of new and contemporary Europe, the United States, Japan and Korea. by Till Fellner, who makes his debut with music. On Sunday 24 March the LSO performs

2 Welcome 10, 14 & 21 March 2019 Latest News Coming Up

OUR 2019/20 SEASON CULTURE MILE COMMUNITY DAY Sunday 17 March 7–9pm Thursday 28 March 7.30–9.20pm Barbican Barbican The LSO’s 2019/20 season is now on sale. On Sunday 17 February, LSO St Luke’s Sir continues his exploration was taken over for a day of performances, BARBARA HANNIGAN NOSEDA: RUSSIAN ROOTS of the roots and origins of music, including a workshops, music, food and crafts, run by look back to the influence of Beethoven in Culture Mile to celebrate the irrepressible Ligeti Concerto Românesc Rachmaninov Piano Concerto No 3 the composer’s 250th anniversary year and creativity and community spirit of East Haydn Symphony No 86 Balakirev arr Casella Islamey a focus on how folk music inspired Bartók London. Join us for free at the next Berg Lulu – Suite Interval and Percy Grainger. François-Xavier Roth Community Day on Sunday 21 July. Gershwin arr Hannigan & Elliot Shostakovich Symphony No 1 conducts complementary programmes of Girl Crazy – Suite Bartók and Stravinsky, while Gianandrea • lso.co.uk/news Gianandrea Noseda conductor Noseda continues his survey of Russian Barbara Hannigan conductor & soprano Seong-Jin Cho piano works. We also take the opportunity to celebrate the 50th anniversary of LSO WATCH THE LSO ON YOUTUBE Streamed live at youtube.com/lso and medici.tv Conductor Laureate ’ Sunday 24 March 6–9pm first appearance with the Orchestra. The concert on Sunday 10 March will be Barbican Sunday 31 March 7–8.45pm streamed live on our YouTube Channel and Barbican • lso.co.uk/201920season medici.tv, and will be available to watch LSO FUTURES back for 90 days. Our next live stream will DAMRAU SINGS STRAUSS WELCOME TO TONIGHT’S GROUPS be on Thursday 28 March when Gianandrea David Lang the public domain (UK premiere)* Noseda conducts a programme of Russian Philippe Manoury Ring (UK premiere) Strauss Don Juan We are delighted to welcome the works culminating in Shostakovich’s Donghoon Shin Kafka’s Dream (world premiere) Iain Bell The Hidden Place (world premiere) groups attending these concerts. Symphony No 1. Scriabin Symphony No 4, ‘The Poem of Ecstasy’ Interval 10 March Faversham Music Club, Strauss Till Eulenspiegel Gerrards Cross Community Association, Watch from 7pm when Rachel Leach will François-Xavier Roth conductor Strauss Closing Scene from ‘Capriccio’ Kristina Rabin & Friends present an introduction to the music before Simon Halsey conductor * 14 March Explorica, Farnham U3A, the concert starts at 7.30pm. Thomas Guthrie director * Gianandrea Noseda conductor Kristina Rabin & Friends * Diana Damrau soprano 21 March Adele Friedland & Friends, • lso.co.uk/livestream LSO Community Choir * Linda Diggins & Friends, Guildford U3A, • youtube.com/lso 500 Voices Participants * Part of the Barbican’s Ian Fyfe & Friends, Florida State University, Diana Damrau Sings Strauss Vista Peak Preparatory High School

Tonight’s Concert 3 Warm wishes to Bernard Haitink at 90

François-Xavier Roth Elim Chan LSO Principal Guest Conductor Conductor

Dear Maestro Haitink, I wish you the most Happy 90th birthday to someone who has beautiful happy birthday! I recently saw you made me wiser through his music-making in Cologne where you conducted so lively and guidance. Bernard, may you continue the Chamber Orchestra of Europe. The years to inspire me and other aspiring conductors didn’t for one second affect the amazing to enjoy all that life has to offer. Have a Sir Simon Rattle Gareth Davies freshness of your music-making and unique fantastic celebration with the LSO! LSO Music Director LSO Chairman & Principal Flute vitality! Merci du fond du coeur for all the incredible music you lead! My dear Bernard, you will be terribly At the end of each precious period of work embarrassed by all this, and that is just with you, tradition dictates that the Chairman another reason to love you! I listened to stands up to thank you. It’s always something you constantly when I was a child, and which you’ve been forced to endure, brushing we first met and worked together when it off as me making a fuss! Fewer words, I was a teenager, so it is no exaggeration more music. However on your 90th birthday, to say you have been a constant for me I make no apology in making a fuss. Gianandrea Noseda Maria João Pires throughout my musical life. Your kindness LSO Principal Guest Conductor and encouragement has meant much, and The long relationship which we have with I will not even start to talk about countless you is one of admiration, affection and Thank you Maestro Haitink for all the Dearest Bernard, over the past 30 years, inspiring concerts as I can already feel your exceptional music-making. Your visits are beauty you have been constantly giving you have been for me a true example of growing impatience! one of the highlights of the year for the us, with generosity, artistry and supreme simplicity, honesty, artistry, intimacy, audiences, and perhaps even more so for the commitment. Thank you for enlightening our creativity, given your ability to approach Heartfelt congratulations on the rather musicians. Personally speaking, having been lives with the love you put in the music you the essence of music. Playing with you astounding ‘zero’ of a birthday, and able to make music with you is the thrill of perform. Your attitude to serve the music I always felt at home and shared through much love and admiration from your a lifetime. So no more words, except to say allows you to reach the souls of many people. music the most important elements of life: devoted Simon and Magdalena. thank you and a very happy birthday. truth and an open heart.

4 Bernard Haitink at 90 10, 14 & 21 March 2019 Isabelle Faust Gus Christie Olivier Stankiewicz Violinist Pianist Glyndebourne LSO Principal Oboe

A huge birthday hug, dear Bernard, along Bernard Haitink is a great musician and a Happy birthday from all of us at Happy Birthday Bernard, and all my best with unlimited gratitude for the miraculous great conductor. He reads the score with Glyndebourne – you were a wonderful MD for wishes! Thank you for all the wonderful moments of music-making – what a joy deep insight and his precise ten glorious years and I remember my Dad music you bring to us. and honour whenever I had the privilege technique enables orchestras to translate for always saying that he felt confident with you to share those with you! Your humble and the audience what Bernard has understood in the pit, and that everything would be okay truthful way is always focused, never getting and felt in the score. He does it with no matter what was happening on stage! Mark Volpe & Anthony Fogg lost in minor issues, and always moving simplicity and honesty. I was fortunate Boston Symphony Orchestra your audience profoundly. I will enjoy every to play a number of concerts with him Rosie Jenkins second of your inspiration in Dvořák’s Violin and heard many more as a member of LSO Oboe We send our warmest good wishes to Concerto and celebrate you the Czech way. the audience. I look forward to some more Bernard Haitink. He holds a special place in such occasions. Happy 90th birthday! The first time I met Bernard Haitink I was our hearts and spirits. We wish him many Anna Lucia Richter playing Principal Oboe in the Symphony more years of good health. Soprano David Alberman Orchestra at the Royal College of Music. LSO Principal Second Violin We played Mahler’s Sixth. I remember the I cannot describe how deeply you always concert being incredibly special. It was like an Till Fellner impressed me as a highly musical and Bernard Haitink is an absolute pleasure out of body experience, I knew exactly what Pianist smart conductor but also as a decent and to work with; he guides the orchestra he wanted me to do with the phrases from interesting person! In the last couple of very gently, with an extraordinary economy just the slightest gesture. The whole evening Happy birthday, dear Bernard! years we have had many opportunities to of movement and expression which was so life-affirming and formative that work together and I am most grateful for nonetheless contains everything one would I really have carried it with me since that day. everything I can learn. Thank you for your want from a conductor. The players respond work and for every occasion we made music to him because he is so quietly sure of what Thank you so much Bernard, for that Pianist together. I wish you many more beautiful he’s doing that they trust him absolutely amazing experience at the Royal College musical moments together with all the and implicitly. I’m very happy that he is who of Music and for every concert since. Congratulations and endless gratitude. marvellous musicians around you! he is. Many happy returns, Bernard! Thank you and Happy Birthday!

Bernard Haitink at 90 5 Sunday 10 March 2019 Tonight’s Concert In Brief / by Liam Hennebry

LSO SEASON CONCERT ritten in almost 100 years PROGRAMME CONTRIBUTORS BERNARD HAITINK AT 90 apart, tonight’s works represent two composers at contrasting Lindsay Kemp is a senior producer for Mozart Piano Concerto No 22 stages of their careers. One writes from the BBC Radio 3, including programming Interval height of his powers, with fame, fortune Lunchtime Concerts from LSO St Luke’s, Bruckner Symphony No 4 and success arising from every venture. Artistic Director of Baroque at the Edge Meanwhile the other struggles to build Festival, and a regular contributor to Bernard Haitink conductor a reputation, an achievement that will Gramophone magazine. Till Fellner piano continue to elude him for another decade. Stephen Johnson is the author of Bruckner Concert ends at approx 9.25pm Mozart’s proficiency for keyboard music Remembered (Faber). He also contributes had been long-established by the time regularly to BBC Music Magazine and The Streamed live at youtube.com/lso and on medici.tv the Twenty-Second Piano Concerto came Guardian, and broadcasts for BBC Radio 3, around. His move from Salzburg had been BBC Radio 4 and the BBC World Service. a highly successful one, and this tuneful, Recorded by BBC Radio 3 for broadcast on 11 March somewhat restrained concerto encapsulates Andrew Stewart is a freelance music the confidence he must surely have felt journalist and writer. He is the author of The during what would turn out to be the most LSO at 90, and contributes to a wide variety successful period of his life. of specialist classical music publications.

Though Mozart was likely heedless of any David Nice writes, lectures and broadcasts impending strife (his would be financial), on music, notably for BBC Radio 3 and Bruckner must have been keenly aware of BBC Music Magazine. His books include the musical-political quagmire in which short studies of , Elgar, he found himself. By the mid-1870s his Tchaikovsky and Stravinsky, and a Prokofiev unabashed infatuation with Wagner biography, From Russia to the West 1891–1935. had compelled him into conflict with the critics of the day. Yet, in spite of the raging arguments, the Fourth Symphony refrains from Wagnerian colours. Rather, it presents more idyllic images of high castles, medieval knights and magical forests.

10 March 2019 Piano Concerto No 22 K482 1785–86 / note by Lindsay Kemp

1 Allegro in progress, it seems unlikely that it had grandeur that it promises is often the music’s seemingly uncontroversial and 2 Andante occurred to Mozart that his fortunes would undermined, not least by the use of mellow suave course with an extended section in the 3 Allegro – Andante Cantabile – Allegro soon decline, for all that he had recently clarinets instead of bright oboes for the style of a slow minuet. It was a trick he had written the first of a series of letters to first time in a Mozart concerto. A deepening played eight years earlier in another E-flat Till Fellner piano friends asking for money. understanding of wind scoring in general – Concerto, K271, and it is no less effective and of the liquid tones of the clarinet in here in adding a soft extra layer to this most hen Mozart composed this Yet, although the nine piano concertos particular – had been another of the benefits comfortably appointed of concertos. • aristocratic piano concerto in he had already composed in Vienna of Mozart’s move to Vienna; this work is December 1785, he was entitled represent part of one of the most important just one of many that show how much he to be in a confident mood. Since his arrival contributions made by a single composer to had begun to relish using the orchestra’s in Vienna, he had found the city’s musical any musical genre, establishing the piano wind section as an entity in itself, an environment congenial both to his creativity concerto for the first time as a mature and intention signalled in this case right from and to his fortunes: he had married, his sophisticated means of expression rather the opening few bars. opera Die Entführung aus dem Serail had than simply a vehicle for polite public been a great success, and he had achieved display, there is evidence to suggest that Winds also feature prominently in the slow fame and popularity with a series of piano audiences were beginning to find his music second movement, in which the intense concertos he had written for himself to play. to be ‘over composed’ – unnecessarily C minor theme announced by the strings rich in melodic invention, chromatic and (with violins muted) is varied three times in Earlier in the year, his father had visited him contrapuntal detail, and perhaps expressive combination with the piano. After each of and reported home to his daughter of the weight as well. Whereas in the Lenten the middle two variations, however, there is hectic surroundings of Mozart’s apartment: concert season of 1785 Mozart had given a contrasting episode, the first a serenade- ‘We never get to bed before one o’clock … concerts virtually every night, the same like section for woodwind and horns, and the Every day there are concerts; and the period in 1786 would see him give only one. second a perky duet for flute and bassoon whole time is given up to teaching, music, with string accompaniment. Whatever composing, and so forth … It is impossible K482 is certainly a rich work, both in Mozart’s audiences were beginning to for me to describe the rush and bustle. melody and in orchestral colouring. The first find hard to take in the mid-1780s, it was Since my arrival your brother’s piano has movement contains a wealth of themes, clearly not pathos of this kind, for at the been taken at least a dozen times to the some of which (including the one with which first performance of this concerto the slow Interval – 20 minutes theatre or to some other house.’ the piano makes its first entry) are heard movement was encored. There are bars on all levels. only once. Although the opening rightly Visit the Barbican Shop on Level -1 to As 1785 neared its end, and with the suggests that this will be a movement The finale is a rondo of the jaunty ‘hunting’ see our range of Gifts and Accessories. composition of The Marriage of Figaro of great expansiveness, the ceremonial type in which, however, Mozart interrupts

Programme Notes 7 Wolfgang Amadeus Mozart in Profile 1756–91 / by Andrew Stewart

orn in Salzburg on 27 January 1756, Mozart to resign in 1781 and move to Vienna • MOZART ON LSO LIVE Mozart began to pick out tunes in search of a more suitable position, fame on his father’s keyboard before and fortune. In the last decade of his life, his fourth birthday. His first compositions, he produced a series of masterpieces in an Andante and Allegro for keyboard, all the principal genres of music, including were written down in the early months of the operas The Marriage of Figaro (1785), 1761; later that year, the boy performed in (1787), Così fan tutte and public for the first time at the University The Magic Flute, the Symphonies Nos of Salzburg. Mozart’s ambitious father, 40 and 41 (‘Jupiter’), a series of sublime Leopold, court composer and Vice- piano concertos, a clarinet quintet and the Kapellmeister to the Prince-Archbishop of Requiem, left incomplete at his death on Salzburg, recognised the money-making 5 December 1791. • potential of his precocious son and pupil, embarking on a series of tours to the major courts and capital cities of Europe.

In 1777, Wolfgang, now 21 and frustrated Mozart Violin Concerto No 4 with life as a musician-in-service at Mozart Violin Concerto No 5 Salzburg, left home, visiting the court at Mannheim on the way to . The Parisian Nikolaj Szeps-Znaider conductor & violin public gave the former child prodigy a lukewarm reception, and he struggled to ‘Znaider delights the ear with playing that make money by teaching and composing mingles his trademark finesse with an new pieces for wealthy patrons. A failed love impish exuberance so crucial to these works affair and the death of his mother prompted of Mozart.’ Gramophone Mozart to return to Salzburg, where he accepted the post of Court and Cathedral ‘Znaider’s lovely tone and delicacy of touch Organist. In 1780 he was commissioned to are a pleasure.’ The Sunday Times write an opera, , for the Bavarian court in Munich, where he was treated Available to purchase in the Barbican Shop, with great respect. The servility demanded at lsolive.co.uk, on iTunes and Amazon, by his Salzburg employer finally provoked or to stream on Spotify and Apple Music

8 Composer Profile 10 March 2019 Bruckner the Man 1824–96 / by Stephen Johnson

yths cling like limpets to great between the demands of his faith and old joke that Bruckner ‘wrote the same artists, no matter how hard his lifelong tendency to fall in love with symphony nine times’ and it’s true that scholars try to scrape them off. improbably young women reveal a deep the symphonies tend to be based on the And of no composer is this truer than Anton rift in his nature. Bruckner could also be same ground plan, with similar features Bruckner. The composer is still frequently alarmingly compulsive in his devotions – in similar places. But the same is true of described as a ‘simple’ man, an Austrian especially at times of acute mental crisis the great Medieval cathedrals, and no one peasant with little education and even less (there were plenty of those) – and there could say that Chartres Cathedral was the grasp of the sophisticated Viennese world are hints he was prone to doubt, especially same building as Durham or Westminster in which he tried so desperately to establish in his last years. Abbey. Bruckner planned his cathedral- both a living and a reputation. like symphonic structures in meticulous Equally strange to those who knew him detail, and at best they function superbly The facts tell a different story. Bruckner may was Bruckner’s almost religious devotion as formal containers for his ecstatic visions have appeared unpolished, at times bizarrely to Wagner – even Wagner himself is said and extreme mood swings. Disconcerting eccentric, especially to self-conscious to have been embarrassed by Bruckner’s simplicity and profound complexity co-exist Viennese sophisticates, but he was far adoration (which is saying a great deal!). in the man as in his music. It’s one of the from ill-educated. His father was a village But the way Bruckner as a composer things that makes him so fascinating and, schoolmaster – a background he shared synthesises lush Wagnerian harmonies and in music, unique. • with several of the greatest Austrian and intense expression with elements drawn German writers and thinkers. Bruckner went from Schubert, Beethoven, Haydn, Bach and through a rigorous Catholic teacher-training the Renaissance church master Palestrina programme, passing his exams first time is remarkably original. It shows that, unlike with distinction (quite a rare achievement many of his contemporaries, Bruckner in those days). Close friends and colleagues was far from losing himself in Wagner’s testify to his lively and enquiring intellect, intoxicating soundworld. as well as his friendliness and generosity. Bruckner’s intense Roman Catholic faith His obsessions may have caused him certainly marked him out as unworldly. There terrible problems – particularly his notorious are stories of him breaking off lectures at ‘counting mania’ (during one crisis period the Vienna University to pray; begging God’s he was found trying to count the leaves forgiveness for unintentionally ‘stealing’ on a tree) but paradoxically the same another man’s tune; dedicating his Ninth obsessiveness may have helped him keep Symphony ‘to dear God’. However, tensions his bearings as a composer. There’s an

Composer Profile 9 Symphony No 4 Second version 1877–78, ed Nowak 1953 with 1880 Finale / note by David Nice

1 Bewegt, nicht zu schnell of nature, dominated in every movement by 2 Andante, quasi allegretto the sound of the horn, is often expressed 3 Scherzo: Bewegt – Trio: Nicht zu schnell in clean, bright colours and straightforward 4 Finale: Bewegt, doch nicht zu schnell progressions; those well-meaning but conventionally minded colleagues Franz his symphony’s epithet, Schalk and Ferdinand Loewe were wrong to ‘Romantic’, is Bruckner’s own, clothe Bruckner’s thought in darker, more and although they may seem like Wagnerian hues when they made revisions programmatic wisdom after the event, the to the work in the late 1880s. But there are charming descriptions he gave to each of the times, too, when a paler cast of thought movements, while engaged on his several registers in an altogether more complex use revisions of the work, make it quite clear of harmony: this, if anything, comes closer what kind of Romanticism this is. to our image of a ‘Romantic’ symphony. The tension between the two is sustained The programme is of medieval towns successfully for the first time in Bruckner’s • Karl Friedrich Schinkel’s Gotische Kirche auf einem Felsen am Meer (1815) flanked by enchanted woodland, knights work, and that is surely why he took so long and huntsmen, noonday dancing in forest to shape it to his liking. That done, the path modifications for a New York performance As the light grows, a new figure emerges – clearings: such is the substance of that was clear for the kind of symphony he now conducted by Anton Seidl. It is Nowak’s first ascending, then descending – in amiable early Romantic painter Schinkel • knew he wanted to write; only the genesis 1953 publication of the second version that Bruckner’s favourite rhythmic pattern of rather than his awe-inducing contemporary of the Eighth was to cause anything like the Bernard Haitink has chosen to perform. two notes in a common-time bar followed Caspar David Friedrich (note that the heyday same trouble. by a group of three; it comes in useful as of both artists came nearly half a century FIRST MOVEMENT a dominant force later, en route to the before Bruckner began work on the Fourth After the first draft of 1874, Bruckner revised The easy luminosity of Bruckner’s un- inspired chorale climax of the development. Symphony in 1874). In other words, the the Fourth Symphony in 1877–8, providing improvable orchestration shines out in the So useful, in fact, that only when we hear moodier imaginings and the fantastical a new scherzo and finale along with the symphony’s opening. The string mists that the initial horn call blazing out in full E-flat subjectivity of the artist we think of as the picturesque programme; the ‘Popular usher in the magical horn call, like many a major glory in the movement’s coda for the archetypal Romantic are nowhere in sight. Festival’ title he gave the fourth movement Brucknerian beginning, owe much to the first time do we realise that Bruckner the is obviously quite inappropriate to the inspiration of Beethoven’s Ninth Symphony; master has saved the trump card until the Not that the long-discredited image of titanic spirit of the re-thought finale from but the key is major, not minor, for the first last, breathtaking minute. By way of rustic Bruckner the simple, unsophisticated 1880. That year also saw the successful time in Bruckner’s output, and the stillness repose after the first powerful orchestral countryman has anything to do with the Vienna premiere under Hans Richter. In 1886 is effortlessly held over 35 bars before the statements, the second subject group enters essence of the Fourth Symphony. His record Bruckner made a number of relatively minor faintest hint of a crescendo. on strings alone – surprisingly in D-flat

10 Programme Notes 10 March 2019 major – with a simple pattern on violins key of B-flat major. Developments shadow Simpson when he wrote that ‘a Bruckner that Bruckner referred to as the chirping another, reflective treatment of the symphony is, so to speak, an archaeological of a forest tom-tit, with the nature-lover’s rhythmic pattern on strings; the trio is ‘dig’. The first three movements are like response countering in the viola melody; pure, bucolic repose – though, again, not layers removed, revealing the city below, that, at least, was no programmatic as simple as its flowing oboe and clarinet the finale’. Simpson finds fault with the afterthought. These forest murmurs, song at first suggests. commonplaces and bad timing of this soon tempered by experience, provide the atmospheric food for reflection — between the movement’s shining glories. ‘They want me to write differently. Certainly I could, but I must not.

SECOND MOVEMENT God has chosen me from thousands and given me, of all people, this talent. Bruckner’s Andante looks simple on paper It is to Him that I must give account. How then would I stand there before but proves no less the fruit of subtle Almighty God, if I followed the others and not Him?’ thought: a restrained parade of elementary BRUCKNER NEXT SEASON C minor funeral march (tenderly voiced Anton Bruckner at first by and ripe for increasingly — Sunday 19 April 2020 7pm assertive major-key transformations in Barbican development and coda), chorale for strings FINALE finale’s more reflective subject-matter, (straightforwardly presented only once, in Nowhere does the mature Bruckner strike and it’s hard not to agree. Yet the bedrock LSO ARTIST PORTRAIT the exposition) and the striking contrast out on his own to challenge our received of towering orchestral unisons – reached ANTOINE TAMESTIT of a long, tonally restless melody for violas notion of symphonic form more than in his by way of rhythmic reminders, patterns with pizzicato accompaniment. finales. The Fourth’s remains something of shared with first movement and scherzo – Jörg Widmann Viola Concerto a prototype for more perfectly proportioned is undeniably more overwhelming than Interval THIRD MOVEMENT edifices to come, though it operates in the anything that has gone before, and however Bruckner Symphony No 5 Confined here to the role of eloquent same way as a kind of crystallisation of the lost we may feel in the voids between the observers, the horns again take centre work’s essence rather than the action- masses, the coda sets everything right by conductor stage in the scherzo, their simple hunting- packed, rhetorical summing-up that is surpassing even the symphony’s opening Antoine Tamestit viola call (again, note, in that mixed rhythm of the provenance of the more conventional in the radiance and breadth with which it two notes and a group of three) suddenly ‘Romantic’ symphony. unfurls its fanfare. • amazing us at the climax by resounding in a foreign key – though answering trumpets No advocate of the composer has put it Explore the new season hold doggedly to the movement’s home better than the fine symphonist Robert lso.co.uk/201920season

Programme Notes 11 Thursday 14 & 21 March 2019 Tonight’s Concert In Brief / by Liam Hennebry

LSO SEASON CONCERT n a departure from his established PROGRAMME CONTRIBUTORS BERNARD HAITINK AT 90 output, Dvořák was inspired to write the Violin Concerto after hearing the Gavin Plumley specialises in the music and Dvořák Violin Concerto renowned soloist Joseph Joachim. The music culture of Central Europe and has written Interval ranges from moody storm clouds to cheerful for The Independent on Sunday and The Mahler Symphony No 4 Czech dances and yearning moments of Guardian. He appears frequently on BBC lyrical introspection. And though Joachim Radio 3 and Radio 4, and commissions and Bernard Haitink conductor remained unconvinced, rejecting the work edits the English-language programme Isabelle Faust violin for its informal structure, later violinists notes for the Salzburg Festival. Anna Lucia Richter soprano saw its charm and the concerto went on to earn a significant place in the repertoire. Andrew Stewart is a freelance music Concert ends at approx 9.40pm journalist and writer. He is the author of The The turning of the 20th century appears LSO at 90, and contributes to a wide variety to have turned Mahler’s symphonic writing of specialist classical music publications. in a new direction, as he began to produce his most sophisticated music to date. At Stephen Johnson is the author of Bruckner first impression, his Symphony No 4 is a Remembered (Faber). He also contributes bright, warm and intimate work, leading regularly to BBC Music Magazine and The audiences on a childlike journey that ends Guardian, and broadcasts for BBC Radio 3, with a vision of heaven where we ‘dance, BBC Radio 4 and the BBC World Service. leap, hop and sing’ and ‘angels bake the bread’. Yet this vision, and the surface warmth of the music, conceals darker, more violent imagery contained within the text.

Whether Mahler remembers his earliest years happily or is expressing cathartically the various and universal traumas of childhood would be a matter for speculation. Whichever, it remains the brightest, if not the simplest, of his symphonies.

14 & 21 March 2019 Antonín Dvořák Violin Concerto Op 53 1879 / note by Gavin Plumley

1 Allegro ma non troppo formal guidelines), boldly dispensing with swaggering, arrogant man’). The dance’s 2 Adagio ma non troppo the recapitulation of the thematic material jolts and stamps frame a hushed central 3 Finale: Allegro giocoso ma non troppo in the first movement. The composer section. After this quiet enclave Dvořák destroyed the original manuscript, keeping brings the concerto to a virtuosic close. Isabelle Faust violin only the solo violin part. Once he had This highly lyrical work may not have completed major revisions to the concerto pleased Joseph Joachim, but like the later nspiration can be a blessing and in 1882, he said that, ‘I have retained the concerto, it has become a much-loved a curse. When Brahms introduced themes, and composed some new ones too, work in the concerto repertoire. • Dvořák to the great violinist but the whole concept of the work is different’. Joseph Joachim •, a mutually beneficial Nevertheless, Joachim remained unconvinced collaboration should have flourished. and finally turned down the concerto. Shortly after Brahms had written his violin concerto for Joachim – to which the violinist Dvořák was adamant that the work should contributed ideas of phrasing and technique – be performed and pursued a premiere in Dvořák followed suit. Solo concertos were Prague. František Ondříček, who came from not necessarily the Bohemian composer’s a long line of Czech violinists, gave the • JOSEPH JOACHIM strength; although he was a proficient first performance in the Czech capital on string player, Dvořák had only written a 14 October 1883 and repeated the Hungarian-born Joseph Joachim is piano concerto to date (having abandoned performance in Vienna on 2 December. considered one of the most significant an earlier cello concerto). Joachim proved to The success of these performances was a violinists of the 19th century. A protégé of be a hard taskmaster. Having turned down welcome vindication of Dvořák’s aims. Felix Mendelssohn, several key pieces of the premiere of Schumann’s Violin Concerto the violin repertoire were written for him, (also written for him), Dvořák clearly had a After a brief but intrepid introduction from including concertos by Dvořák, Schumann, tough hill to climb. the orchestra, the soloist answers with a Brahms and Bruch. more sinuous response. The change between Sensing some doubt, Dvořák immediately these bold outbursts and more introspective dedicated the concerto to the violinist. passages characterises the first movement. When he delivered the manuscript, however, The lyrical Adagio is likewise interrupted Interval – 20 minutes Joachim was highly critical. Rather than by much stormier music. The cheeky final There are bars on all levels. the strictly formal work that Joachim had movement takes its inspiration from the Visit the Barbican Shop on Level -1 to wanted, Dvořák had written in a more Furiant, a native Czech dance that is known see our range of Gifts and Accessories. rhapsodic style (albeit underpinned by for its unstable metre (the name means ‘a

Programme Notes 13 Antonín Dvořák in Profile 1841–1904 / by Andrew Stewart

orn into a peasant family, Dvořák the publication of his Moravian Duets and a • DVOŘÁK ON LSO LIVE developed a love of folk tunes at commission for a set of Slavonic Dances. an early age. His father inherited the lease on a butcher’s shop in the small The nationalist themes expressed in village of Nelahozeves, north of Prague. Dvořák’s music attracted considerable When he was twelve, Dvořák left school and interest beyond Prague. In 1883 he was was apprenticed to become a butcher, at invited to London to conduct a concert of first working in his father’s shop and later his works, and he returned to often in the town of Zlonice. Here Dvořák learned in the 1880s to oversee the premieres of German and also refined his musical talents several important commissions, including to such a level that his father agreed he his Seventh Symphony and Requiem Mass. should pursue a career as a musician. Dvořák’s Cello Concerto in B minor received a world premiere in London in March 1896. In 1857 he enrolled at the Prague Organ His Ninth Symphony, ‘From the New World’, School during which time he became a product of his American years (1892–95), inspired by the music dramas of Wagner: confirmed his place among the finest of late opera was to become a constant feature 19th-century composers. • Dvořák Symphonies Nos 6–9 of Dvořák’s creative life. Sir conductor His first job was as a viola player, though he supplemented his income by teaching. In the ‘A winning combination of Davis’ heart- mid-1860s he began to compose a series of warming direction, the LSO’s refulgent large-scale works, including his Symphony virtuosity and seductive phrasing, and No 1, ‘The Bells of Zlonice’, and the Cello first-rate engineering.’ Concerto. Two operas, his Second Symphony, many songs and chamber works followed Classic FM ‘CD of the Week’ before Dvořák decided to concentrate on composition. In 1873 he married one of his pupils, and in 1874 received a much-needed Available to purchase in the Barbican Shop, cash grant from the Austrian government. at lsolive.co.uk, on iTunes and Amazon, lobbied the publisher or to stream on Spotify and Apple Music Simrock to accept Dvořák’s work, leading to

14 Composer Profile 14 & 21 March 2019 in Profile 1860–1911 / by Stephen Johnson

ustav Mahler’s sense of being a presence from early on: six of Mahler’s Schindler in 1902. Alma’s infidelity – which an outsider, coupled with a siblings died in infancy. This no doubt partly almost certainly accelerated the final decline penetrating, restless intelligence, explains the obsession with mortality in in Mahler’s health in 1910/11 – has earned made him an acutely self-conscious searcher Mahler’s music. Few of his major works her black marks from some biographers; but after truth. For Mahler the purpose of art do not feature a funeral march: in fact it is hard not to feel some sympathy for her was, in Shakespeare’s famous phrase, Mahler’s first composition (at age ten) position as a ‘work widow’. to ‘hold the mirror up to nature’ in all its was a Funeral March with Polka – exactly bewildering richness. The symphony, he the kind of extreme juxtaposition one Nevertheless, many today have good cause told Jean Sibelius, ‘must be like the world. finds in his mature works. to be grateful to Mahler for his single- It must embrace everything’. minded devotion to his art. TS Eliot – another artist caught between the search for — faith and the horror of meaninglessness – ‘I am three times homeless: a native of Bohemia in , wrote that ‘humankind cannot bear very much reality’. But Mahler’s music suggests an Austrian among Germans, a Jew throughout the world.’ another possibility. With his ability to — confront the terrifying possibility of a purposeless universe and the empty finality Mahler’s symphonies can seem almost For most of his life Mahler supported himself of death, Mahler can help us confront and over-full with intense emotions and ideas: by conducting, but this was no mere means endure stark reality. He can take us to the love and hate, joy in life and terror of death, to an end. Indeed his evident talent and edge of the abyss, then sing us the sweetest the beauty of nature, innocence and bitter energetic, disciplined commitment led to songs of consolation. If we allow ourselves experience. Similar themes can also be successive appointments at Prague, , to make this journey with him, we may find found in his marvellous songs and song- Budapest, Hamburg and climactically, in that we too are the better for it. • cycles, though there the intensity is, 1897, the Vienna Court Opera. if anything, still more sharply focused. In the midst of this hugely demanding Gustav Mahler was born the second of schedule, Mahler composed whenever he 14 children. His parents were apparently could, usually during his summer holidays. ill-matched (Mahler remembered violent The rate at which he composed during these scenes), and young Gustav grew dreamy and brief periods is astonishing. The workload introspective, seeking comfort in nature in no way decreased after his marriage to rather than human company. Death was the charismatic and highly intelligent Alma

Composer Profile 15 Gustav Mahler Symphony No 4 1899–1900, rev 1901–10 / note by Stephen Johnson

1 Bedächtig, nicht eilen (Deliberate. in a vision of Heaven seen through the eyes folk collection Des Knaben Wunderhorn (solo oboe and bassoon). Later, another not hurried)– Recht gemächlich of a child – with only the occasional pang (Youth’s Magic Horn) Mahler had composed tune is introduced by four flutes in unison – (Very leisurely) of adult nostalgia to cloud its radiant blue in the 1890s. At one stage Mahler thought of panpipes, or perhaps whistling boys. 2 In gemächlicher Bewegung, ohne Hast skies. But Mahler was too sophisticated including it in his huge Third Symphony; but (At a leisurely pace. Without haste) to fall for the sentimental 19th-century then he began to see it as more clearly the After this, the ‘mysteries and horrors’ of 3 Ruhevoll (Restful) idea of childhood as a paradise lost. He ending of his next symphony, the Fourth. the forest gradually make their presence 4 Sehr behaglich (Very cosy) knew that children could be cruel, and felt until, in a superb full orchestral climax, that their capacity for suffering was often Even then, as we have seen, Mahler’s ideas horns, trumpets, bells and glittering high Anna Lucia Richter soprano underestimated by adults. There is cruelty changed as the new work took shape. At first woodwind sound a triumphant medley of in the seemingly naïve text Mahler sets he was thinking in terms of a ‘symphonic themes from earlier on. But this triumph n 1900, just after he’d finished his in his finale, ‘Das himmlische Leben’ humoresque’, but then the ideas took on a is dispelled by a dissonance, underlined by Fourth Symphony, Mahler wrote (Heavenly Life): ‘We led a patient, guiltless life of their own and the symphony ‘turned gong and bass drum, then trumpets sound about how the work had taken darling lambkin to death,’ the child tells upside down’. In its final form, the first three out the grim fanfare rhythm Mahler later shape. He had set out with clear ideas, but us contentedly, adding that ‘Saint Luke is movements of the Fourth Symphony prepare used to begin the Funeral March of his Fifth then the work had ‘turned upside down’ on slaying the oxen’. A moment or two earlier the way for the closing vision of the heavenly Symphony. How do we get back to the land him: ‘To my astonishment it became plain we catch a glimpse of ‘the butcher Herod’, life on every possible level: its themes, of lost content glimpsed at the beginning? to me that I had entered a totally different on whose orders the children were orchestral colours, tonal scheme, most of all Mahler simply stops the music, and the realm, just as in a dream one imagines massacred in the Biblical Christmas story. that strange emotional ambiguity – blissful Mozartian theme starts again in mid- oneself wandering through the flower- dream touched by images of nightmare. Far phrase, as though nothing had happened. scented garden of Elysium and it suddenly What are images like these doing in from being Mahler’s simplest symphony, it All the main themes now return, but the changes to a nightmare of finding oneself Heaven? Apart from its ambiguous vision, is one of the subtlest things he ever created. dark disturbances of the development keep in a Hades full of terrors … This time it is a this song-movement also offers one of casting shadows, at least until the brief, forest with all its mysteries and its horrors the most original and satisfying solutions FIRST MOVEMENT ebullient coda. which forces my hand and weaves itself into to the Romantic symphonists’ perpetual The very opening of the Fourth Symphony my work. It becomes even clearer to me that ‘finale problem’. It couldn’t be less like the is a foretaste of the finale. Woodwind and SECOND MOVEMENT one does not compose; one is composed’. massive, all-encompassing finales many jingling sleigh-bells set off at a slow jog-trot, The second movement, a Scherzo with two composers had struggled to provide in the then a languid rising violin phrase turns trios, proceeds at a leisurely pace (really Mahler’s remarks about ‘mysteries and wake of Beethoven’s titanic Fifth and Ninth out to be the beginning of a disarmingly fast music is rare in this symphony). Mahler horrors’ may surprise some readers. Writers Symphonies. Interestingly Mahler wrote simple tune: Mahler in Mozartian vein. described the first theme as ‘Freund Hain often portray the Fourth as his sunniest this movement before he’d written a note There is a note of contained yearning in the spielt auf’: the ‘Friend Hain’ who ‘strikes and simplest symphony: an affectionate of the preceding three. It was one of several lovely second theme (cellos), but this soon up’ here is a sinister figure from German recollection of infant happiness, culminating settings of poems from the classic German subsides into the most childlike idea so far folk-lore: a pied piper-like figure whose fiddle

16 Programme Notes 14 & 21 March 2019 playing leads those it enchants into the FINALE land of ‘Beyond’ – death in disguise? Mahler … Paradise – or, at least, a child’s version evokes Freund Hain’s fiddle ingeniously by of it. Sleigh-bells open the finale, then the having the orchestral leader play on a violin soprano enters for the first time. Possibly tuned a tone higher than normal, which fearing what adult singers might get up to makes the sound both coarser, and literally, if told to imitate a child, Mahler adds an NB more highly-strung. Death doesn’t quite have in the score: ‘To be sung in a happy childlike HALF SIX the last word, though the final shrill forte manner: absolutely without parody!’. At the Early-evening (flutes, oboes, clarinets, glockenspiel, triangle mention of St Peter, the writing becomes and harp) leaves a sulphurous aftertaste. hymn-like, then come those troubling concerts, presented images of slaughter. The singer seems THIRD MOVEMENT unmoved by what she relates, but plaintive, by the conductor The slow movement is marked ‘restful’, but animal-like cries from oboe and low horn FIX the peace is profoundly equivocal. Mahler disturb the vision, if only momentarily. At wrote that this movement was inspired by ‘a last the music makes its final turn to E major, Strauss & Shostakovich Beethoven ‘Choral’ Symphony vision of a tombstone on which was carved the key of the heavenly vision near the end of with Gianandrea Noseda with Sir Simon Rattle an image of the departed, with folded arms, the slow movement. ‘No music on earth can 27 March 2019 12 February 2020 in eternal sleep’ – an image half consoling, be compared to ours’, the child tells us. Then half achingly sad, and clearly related to the child falls silent (asleep?), and the music Prokofiev’s Fifth Symphony Bartók The Wooden Prince the Freund Hain and Death imagery in the gradually fades until nothing is left but the with Michael Tilson Thomas with François-Xavier Roth Scherzo. A set of free variations on the first soft low repeated tolling of the harp. • 13 November 2019 18 March 2020 theme explores facets of this ambiguity until Mahler springs a wonderful surprise: a full Beethoven & Berg Bartók Concerto for Orchestra orchestral outburst of pure joy in E major – with Sir Simon Rattle with Sir Simon Rattle the key in which the finale is to end. This Texts overleaf 15 January 2020 22 April 2020 passage looks forward and backward: horns anticipate the clarinet tune which opens the finale then recall the whistling boys’ flute Find out more at theme from the first movement. Then the movement slips back into peaceful sleep, lso.co.uk/halfsixfix to awaken in …

Programme Notes 17 Gustav Mahler Symphony No 4: Finale texts

Das himmlische Leben The Heavenly Life Auf offener Straßen They run free Sie laufen herbei! In the very streets! Wir geniessen die himmlischen Freuden, We enjoy the heavenly pleasures Drum tun wir das Irdische meiden, and avoid earthly things. Sollt’ ein Fasttag etwa kommen, Should a fast-day arrive, Kein weltlich Getümmel No worldly tumult Alle Fische gleich mit Freuden all the fish swim up to us with joy! Hört man nicht im Himmel! can be heard in Heaven! angeschwommen! Lebt alles in sanftester Ruh’! Everything lives in the sweetest peace! Dort läuft schon Sankt Peter Then off runs St Peter Wir führen ein englisches Leben! We lead an angelic life! Mit Netz und mit Köder with his net and bait Sind dennoch ganz lustig daneben! Nevertheless we are very merry: Zum himmlischen Weiher hinein. to the heavenly pond. Wir tanzen und springen, we dance and leap, Sankt Martha die Köchin muß sein. St Martha must be the cook. Wir hüpfen und singen! hop and sing! Sankt Peter im Himmel sieht zu! Meanwhile, St Peter in the sky looks on. Kein’ Musik ist ja nicht auf Erden, No music on earth Die uns’rer verglichen kann werden. can be compared to ours. Johannes das Lämmlein auslasset, St John has let his little lamb go Elftausend Jungfrauen Eleven thousand maidens Der Metzger Herodes drauf passet! and the butcher Herod looks on! Zu tanzen sich trauen dare to dance! Wir führen ein geduldig’s, We lead a patient, Sankt Ursula selbst dazu lacht! Even St Ursula herself is laughing! Unschuldig’s, geduldig’s, innocent, patient, Cäcilia mit ihren Verwandten Cecilia and all her relatives Ein liebliches Lämmlein zu Tod! a dear little lamb to death! Sind treffliche Hofmusikanten! make splendid court musicians! Sankt Lucas den Ochsen tät schlachten St Luke slaughters oxen Die englischen Stimmen The angelic voices Ohn’ einig’s Bedenken und Achten, without giving it thought or attention. Ermuntern die Sinnen, rouse the senses Der Wein kost’ kein Heller Wine costs not a penny Dass alles für Freuden erwacht. so that everything awakens with joy. Im himmlischen Keller, in Heaven’s cellar; Die Englein, die backen das Brot. and the angels bake the bread. Traditional text from Gut’ Kräuter von allerhand Arten, Good vegetables of all sorts Des Knaben Wunderhorn Die wachsen im himmlischen Garten! grow in Heaven’s garden! Gut’ Spargel, Fisolen Good asparagus, beans Und was wir nur wollen! and whatever we wish! Ganze Schüsseln voll sind uns bereit! Bowls are heaped full, ready for us! Gut Äpfel, gut’ Birn’ und gut’ Trauben! Good apples, good pears and good grapes! Die Gärtner, die alles erlauben! The gardener permits us everything! Willst Rehbock, willst Hasen, Would you like roebuck, would you like hare?

18 Texts 14 & 21 March 2019 Bernard Haitink conductor

ernard Haitink was born and Bernard Haitink has received many awards trained in . His and honours in recognition of his services to conducting career began at the music, including Musical America’s Musician Radio, where he took part of the Year and the Gramophone Lifetime in their intensive conductors’ courses, Achievement Award. He has been made a and where in 1957 he became the Chief Commander of the Order of the Netherlands Conductor of the Radio Philharmonic Lion, and an honorary Companion of Honour Orchestra. He went on to become Chief in the UK, and has received honorary Conductor of the Concertgebouw Orchestra doctorates from the University of Oxford for 27 years. He is now Patron of the Radio and the Royal College of Music. Philharmonic and Honorary Conductor of the Royal Concertgebouw Orchestra. After the 2018/19 season, during which he celebrates his 90th birthday and a 65-year He also held positions as Music Director of conducting career, Bernard Haitink will take Glyndebourne Festival Opera, The Royal a sabbatical. • Opera House and as Principal Conductor of the London Philharmonic Orchestra, the Staatskapelle and the Chicago Symphony Orchestra. He is an honorary member of the , the Chamber Orchestra of Europe and in 2019 was made an honorary member of the .

This season Bernard Haitink returned to the Chicago Symphony, the Royal Concertgebouw, and the Bavarian Radio Symphony Orchestras. He also conducts the Chamber Orchestra of Europe, Orchestra Mozart, Berlin and Vienna Philharmonic Orchestras, as well as the Netherlands Radio Philharmonic, with whom he performed his first public concert in 1954.

Artist Biographies 19 Till Fellner piano

ustrian pianist Till Fellner’s In the field of chamber music Till Fellner Beethoven. In autumn 2016 Alpha Classics international career was launched regularly collaborates with British tenor released his recording of Brahms’ Piano in 1993 when he won First Prize at Mark Padmore, with whom he premiered a Quintet with the Belcea Quartet, which was the renowned Clara Haskil Competition in composition by Hans Zender in 2016, toured awarded the Diapason d’Or de l’Année. Vevey, Switzerland. Over a period of more Japan in 2017 and Europe in 2017/18. He also than two decades, he has become a sought- performs regularly with the Belcea Quartet, In his native Vienna, Till Fellner studied after guest with many of the world’s most and in spring 2019 will tour the US with with Helene Sedo-Stadler before going important orchestras and at the major music cellist Johannes Moser. on to study privately with Alfred Brendel, centres of Europe, US and Japan, as well as Meira Farkas, , and numerous festivals. Over the past few years Fellner has Claus-Christian Schuster. dedicated himself to two milestones of the Highlights in Till Fellner’s diary during piano repertoire: The Well-Tempered Clavier He has also taught at the Zurich Hochschule the 2018/19 season include debuts with by J S Bach, and the 32 piano sonatas of der Künste since autumn 2013. • the LSO, Tonhalle Orchester Zürich and . He performed the Symphonieorchester des Bayerischen Beethoven cycle from 2008 to 2010 in New Rundfunks, and performances with the York, Washington, , London, Paris Minnesota Orchestra, Montreal Symphony and Vienna. Contemporary music is of great Orchestra and at the Kulangsu Piano importance to him too, and he has given the Festival in China. Last season Till Fellner world premieres of works by , performed with the New York Philharmonic , , Orchestra, Chicago Symphony Orchestra, Alexander Stankovski and Hans Zender. Mozarteumorchester Salzburg and Rotterdam Philharmonic Orchestra. On the ECM label, for whom Till Fellner is an exclusive recording artist, he has released Till Fellner has collaborated with Claudio his recording of the First Book of The Well- Abbado, , Herbert Tempered Clavier and the Two & Three-Part Blomstedt, Semyon Bychkov, Christoph Inventions by J S Bach, Beethoven’s Piano von Dohnányi, Christoph Eschenbach, Concertos Nos 4 and 5 with the Montreal , Sir , Symphony Orchestra and , Sir , , Kent chamber music by Harrison Birtwistle and Nagano, Jonathan Nott, Kirill Petrenko, most recently a CD Till Fellner in Concert Claudius Traunfellner and Hans Zender. with live recordings of works by Liszt and

20 Artist Biographies 10, 14 & 21 March 2019 Isabelle Faust violin

sabelle Faust dives deep into She is deeply committed to the performance ISABELLE FAUST NEXT SEASON every piece of music that she of contemporary music, and is currently plays, considering the musical and preparing premieres by Péter Eötvös, Ondřej Thursday 19 March 2020 7.30pm historical context, and using historically Adámek, Marco Stroppa, Oscar Strasnoy and Barbican appropriate instruments to achieve the Beat Furrer for forthcoming seasons. most authentic performance possible. ROTH: BARTÓK Her repertoire ranges from Heinrich Biber Isabelle Faust’s extensive discography THE WOODEN PRINCE to Helmut Lachenmann. includes many critically acclaimed recordings, and she has been awarded the Bartók Dance Suite After winning the renowned Leopold Mozart Diapason d’Or, , Gramophone Stravinsky Violin Concerto in D major Competition and the Paganini Competition Award, Choc de l’année and other prizes. Interval at an early age, she began giving regular Her most recent recordings include Mozart’s Bartók The Wooden Prince guest performances with the world’s major violin concertos with Il Giardino Armonico orchestras, including the Berlin Philharmonic under the direction of Giovanni Antonini, François-Xavier Roth conductor Orchestra, Boston Symphony Orchestra, and Freiburg Baroque Orchestra under the Isabelle Faust violin NHK Symphony Orchestra in Tokyo, Chamber direction of Pablo Heras-Casado. Other Orchestra of Europe and Freiburg Baroque popular recordings include sonatas and 6pm Barbican Orchestra. She has worked closely with scores for violin solo by J S Bach, as well LSO Platforms: Guildhall Artists leading conductors, including Claudio as violin concertos by Beethoven and Berg Free pre-concert recital Abbado, Giovanni Antonini, Frans Brüggen, under the direction of . Sir , Bernard Haitink, Daniel Harding, Philippe Herreweghe, A committed chamber musician, Isabelle Explore the 2019/20 Season Andris Nelsons and Robin Ticciati. Faust has a long-standing collaboration with lso.co.uk/201920season the pianist Alexander Melnikov. Together Isabelle Faust’s repertoire embraces a they have recorded all of Beethoven’s Violin broad range of eras and styles. In addition Sonatas, among other works. to concerto appearances, projects have included a performance of Schubert’s Octet Isabelle Faust is Artist-in-Residence at Kölner with historical instruments, György Kurtág’s Philharmonie during the 2018/19 season. • Kafka Fragments with soprano Anna Prohaska, and Igor Stravinsky’s The Soldier’s Tale with the actor Dominique Horwitz.

Artist Biographies 21 Anna Lucia Richter soprano

nna Lucia Richter comes from a Her operatic repertoire includes roles large family of musicians. As a such as Ilia in Mozart’s Idomeneo, Zerlina long-time member of the girls’ in Mozart’s Don Giovanni, and Eurydice choir at Cologne Cathedral, she began in Monteverdi’s , in the acclaimed receiving singing lessons from her mother production by Sasha Waltz. In 2017 she Regina Dohmen when she was nine years old. had great success at the Theater an der Subsequently, she was trained by Professor Wien in Keith Warner’s new production Kurt Widmer in Basel and Professor Klesie of Henze’s Elegie für junge Liebenden in Kelly-Moog at the Musikhochschule Köln, the main role of Elisabeth Zimmer. graduating with honours. She received further coaching from Margreet Honig, A special concern for Anna Lucia Richter is Edda Moser, Christoph Prégardien and the art of song (Lied). She performs a large . Richter has already won repertoire in all major song centres, such numerous international awards, including as the Schubertiade Schwarzenberg, the the prestigious Borletti-Buitoni Trust Award. Rheingau Music Festival, the Heidelberger Frühling and . She made As a concert singer, Anna Lucia Richter has her US debut with three recitals in New performed at the , where she York’s Park Avenue Armory, accompanied impressed in Mahler’s Wunderhorn songs by Gerold Huber, and gave another US alongside the Lucerne Festival Orchestra and recital in the Weill Hall at Carnegie Hall , as well as the Chamber with her acclaimed and exceptional song Orchestra of Europe with Bernard Haitink. cycle programme consisting of Eichendorff Recent highlights have included appearances settings and improvisations, accompanied with the Budapest Festival Orchestra and by Michael Gees. The repertoire of her Iván Fischer at the BBC Proms, the Orchestre forthcoming album Heimweh (Homesickness) de Paris and the NDR Elbphilharmonie under was presented for the first time in January Thomas Hengelbrock, and the Orchestra of 2019 with Gerold Huber at the Philharmonie the Accademia Nazionale di Santa Cecila Luxembourg, and also at the Konzerthaus and Daniel Harding. She has appeared with Dortmund, a performance that also serves the Frankfurt Radio Symphony Orchestra as the start of a three-year residency as a and Paavo Järvi, and the Freiburg Baroque ‘Junge Wilde’. • Orchestra and Jérémie Rhrorer.

22 Artist Biographies 10, 14 & 21 March 2019 London Symphony Orchestra on stage Sunday 10 March

Leader Second Violins Cellos Flutes Horns Timpani LSO String Experience Scheme Carmine Lauri David Alberman Richard Harwood Gareth Davies Katy Woolley Nigel Thomas Since 1992, the LSO String Experience Thomas Norris Alastair Blayden Jack Welch Angela Barnes Scheme has enabled young string players First Violins Miya Väisänen Jennifer Brown Alexander Edmundson from the London music conservatoires at Sharon Roffman David Ballesteros Noel Bradshaw Oboes Jonathan Lipton the start of their professional careers to gain Clare Duckworth Matthew Gardner Laure Le Dantec Juliana Koch Fabian van de Geest work experience by playing in rehearsals Ginette Decuyper Julian Gil Rodriguez Daniel Gardner Rosie Jenkins and concerts with the LSO. The musicians Laura Dixon Belinda McFarlane Hilary Jones Trumpets are treated as professional ‘extra’ players Gerald Gregory Iwona Muszynska Minat Lyons Clarinets Nicholas Betts (additional to LSO members) and receive fees Maxine Kwok-Adams Csilla Pogany Amanda Truelove Andrew Marriner Robin Totterdell for their work in line with LSO section players. William Melvin Andrew Pollock Peteris Sokolovskis Chi-Yu Mo Niall Keatley Claire Parfitt Paul Robson Simon Cox The Scheme is supported by: Laurent Quénelle Ingrid Button Double Basses Bassoons The Polonsky Foundation Harriet Rayfield Hazel Mulligan Colin Paris Rachel Gough Trombones Barbara Whatmore Charitable Trust Colin Renwick Greta Mutlu Patrick Laurence Joost Bosdijk Matthew Knight Derek Hill Foundation Sylvain Vasseur Thomas Goodman Peter Moore Lord and Lady Lurgan Trust Rhys Watkins Violas Joe Melvin James Maynard Angus Allnatt Charitable Foundation Eleanor Fagg Edward Vanderspar Jani Pensola Rod Stafford Julia Rumley Gillianne Haddow José Moreira Bass Trombone Malcolm Johnston Paul Sherman Paul Milner Performing tonight is Anna Bastow Simo Väisänen Piotr Hetman (double bass) German Clavijo Tuba Stephen Doman Ben Thomson Carol Ella Julia O’Riordan Heather Wallington May Dolan Cynthia Perrin Shiry Rashkovsky

The Orchestra 23 London Symphony Orchestra on stage Thursday 14 & 21 March

Guest Leader Second Violins Cellos Flutes Horns Timpani LSO String Experience Scheme George Tudorache David Alberman Rebecca Gilliver Gareth Davies Katy Woolley Nigel Thomas Since 1992, the LSO String Experience Thomas Norris Alastair Blayden Jack Welch Angela Barnes Scheme has enabled young string players First Violins Sarah Quinn Jennifer Brown Clare Childs Alexander Edmundson Percussion from the London music conservatoires at Clare Duckworth Miya Väisänen Noel Bradshaw Jonathan Lipton Neil Percy the start of their professional careers to gain Ginette Decuyper David Ballesteros Eve-Marie Caravassilis Piccolo David Jackson work experience by playing in rehearsals Laura Dixon Matthew Gardner Daniel Gardner Patricia Moynihan Trumpets Sam Walton and concerts with the LSO. The musicians Gerald Gregory Julian Gil Rodriguez Hilary Jones David Elton Tom Edwards are treated as professional ‘extra’ players Maxine Kwok-Adams Alix Lagasse Minat Lyons Oboes Robin Totterdell (additional to LSO members) and receive fees William Melvin Belinda McFarlane Amanda Truelove Olivier Stankiewicz Niall Keatley Harp for their work in line with LSO section players. Elizabeth Pigram Iwona Muszynska Ashok Klouda Rosie Jenkins Simon Cox Bryn Lewis Claire Parfitt Csilla Pogany The Scheme is supported by: Laurent Quénelle Andrew Pollock Double Basses Cor Anglais The Polonsky Foundation Harriet Rayfield Paul Robson Graham Mitchell Christine Pendrill Barbara Whatmore Charitable Trust Colin Renwick Hazel Mulligan Colin Paris Derek Hill Foundation Sylvain Vasseur Patrick Laurence Clarinets Lord and Lady Lurgan Trust Rhys Watkins Violas Thomas Goodman Andrew Marriner Angus Allnatt Charitable Foundation Eleanor Fagg Edward Vanderspar Joe Melvin Chris Richards Rod Stafford Hilary Jane Parker Gillianne Haddow Jani Pensola Chi-Yu Mo Malcolm Johnston José Moreira Editor Anna Bastow Simo Väisänen Bass Clarinet Fiona Dinsdale | [email protected] German Clavijo Renaud Guy-Rousseau Editorial Photography Lander Echevarria Ranald Mackechnie, Benjamin Ealovega, Stephen Doman Bassoons James Bellorini, Felix Broede, Justin Pumfrey Carol Ella Rachel Gough Julien Mignot, Clive Barda, Detlev Schneider, Robert Turner Joost Bosdijk Kaupo Kikkas Cynthia Perrin Sofia Silva Sousa Contra Bassoon Print Cantate 020 3651 1690 Alistair Scahill Dominic Morgan Advertising Cabbells Ltd 020 3603 7937

Details in this publication were correct at time of going to press.

24 The Orchestra 10, 14 & 21 March 2019